فصلنامه الهیات هنر
پیاپی 18 (پاییز و زمستان 1399)

One of the notable subjects in the history of Islamic art is the topic of icons; but indeed, what is the point of view of Islam about them? Titus Burckhardt is a traditionalist thinker that has investigated this topic in some of his works and writings. He has distinguished between iconoclasm and aniconism, and with relying on Quranic, mystical, theological, and psychological reasons recognized that Islam is supporting the second approach. Although some thinkers understood iconoclasm from conquest of Mecca but, on the contrary of them, Burckhardt infer non- iconoclasm .Now, the question here is,can we understand such a view from Islam with these arguments? The aim of this essay is to understand correctness or incorrectness of his arguments in this regard. The findings of this research indicate that his arguments are fragile, whether in realm of iconoclasm or aniconism. The research is conducted based on library sources, using analytical- descriptive method.

Islimi motifs are one of the main and most important types of abstract decorative motifs in Islamic art, the most widely used of which is in association with the valuable and sacred works of Muslims, including the decoration of the Holy Quran, the decoration depended of mosque and Sacred places, can be seen. The origins, evolution, and implications of this role have, for Western and Muslim scholars, so far been expressed in valuable research, but with different approaches. Some scholars believe that the origins of this pattern are traced back to the herbal forms of Byzantine art, ancient Rome, and Coptic Egypt, and the wing shape ornamental role of the Sassanid art, and others believe that Islimi designs are based on explicit Islamic beliefs, Religious precepts are about drawing animal and human motifs, but traditional artists express Islimi motifs with their longing for eternal paradise and striving to bring about the highest ideological and principled meaning of Islam, monotheism, in Islamic art. This article, with a descriptive-analytical approach based on the experience of traditional artists' lives and based on their sympathy with them, has recognized the Islimi fundamentals of Islamic motifs.

Pottery is one of the arts of the Islamic period. Pottery with the beginning of the Islamic era and Islamic art in Iran, due to having the spirit of simplicity, unity in role, color and full adaptation to the lifestyle, beliefs and culture of Islamic art paid special attention to it.In order to know more deeply thepatterns and their meanings in this sublime art, pottery of Meybod region, which is one of the most prestigious regions and the center of pottery in Iran, is culturally and historically ancient and economically very effective in the livelihood of its peopleIs selected as a sample of studies and seeks to answer the question that, what is the meaning and symbolic meanings of pottery motifs based on the symbolic language of Islamic art?The purpose of this research is to know the characteristics of form and color of Meybod pottery motifs based on the symbolism of Islamic arts,in order to pay more attention to the motifs used in the pottery of this regionand also the symbolic meanings of its motifs.The results show that pottery is a suitable platform for embossing human beliefs and ideas and the patterns and colors used in pottery are all symbolic and abstract derived from religious beliefs, social,cultural conditions and daily life of the people of this region and have Strong concepts of symbolism are in line with the culture and characteristics of Islamic art, which is the language of symbolism, purity and unity.Accordance with culture.And are characteristic of Islamic art.

The use of signs has a long history and has been used in different formats. One of these templates is architecture. When the sign is spoken, first, its formal aspect comes to mind. The neglected issue, is the truth behind the scenes of these signs, which is what has been emphasized in the holy Qur'an, that is, not seeing phenomena as an appearance and paying attention to the truth. The present study, first, explores the types of wisdom's approaches to the truth, then, the recognition of different types of sign from the opinion of Pierce, and how they are used in the context of signs, and then, by expressing the position of using these signs in architecture, these signs Recognizing and interpreting the truth in them. Finally, comparative study of the extent of their use in the mosques of the three historical periods of Qajar, Pahlavi and Contemporary in Tabriz city. The methodology of this research is a historical interpretation.The results indicate, that, Each sign, in what way does it seek to express its truth and every sign in every position has a truth, and: in every historical period, most of which kind of sign is used to express the truth, and The rate of changes in this ratio over this time, and the bulk of the symbols, in each particular way, are intended to express unity at the same plurality, and the level of utilization of the symbols in the Qajar period is more than the other courses